Word: broadway
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Dates: during 1990-1999
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...fairy-tale vista of Central Park and the Plaza Hotel. "The idea of doing Christmas in New York City in the millennium year" from the site, gushes Early Show senior executive producer Steve Friedman, "is amazing." Meanwhile, GMA executive producer Shelley Ross praises her show's Broadway perch as "the crossroads of the world...
...receive such praise, from such stars, in public, you should have to be either God or dead. Bruce Vilanch is neither. He is a comedy writer. His name can't be found on film scripts or Broadway marquees or even as Executive Associate Creative Consultant on a UPN sitcom. Yet he is the unseen perp of some of the funniest, most famous or notorious moments in recent show-biz history...
...Arthur Miller's next opening night is not on Broadway but at the Lyric Opera of Chicago, where composer William Bolcom and librettist Arnold Weinstein have teamed up with the celebrated playwright to turn A View from the Bridge into an opera. Bolcom, whose eclectic tastes run from ragtime to Sondheim, is just the man to set it to music. "I've written some flat-out tunes," he says happily, "and there's even a doo-wop quartet." The cast includes soprano Catherine Malfitano, one of the most powerful actresses in American opera. "She plays a woman who makes...
...Broadway is getting pretty blase about the big names from Hollywood--Nicole Kidman, Helen Hunt, Christian Slater--who keep showing up to prove they're more than just flickers on a screen. Harrelson is not a stranger to New York City theater (his first break was as an understudy in Neil Simon's Biloxi Blues in 1984), but he's far better known as a star of TV (Cheers) and film (Natural Born Killers). So can he cut it as the eponymous con man of N. Richard Nash's 1954 drama, being revived by the Roundabout Theatre? It's this...
...They also serve who must stand and wait for stardom. Mitchell was a Broadway journeyman before his galvanic performance as Coalhouse Walker in Ragtime. Yet even that role didn't win him quite the renown he deserved (he lost the Tony to Cabaret's Alan Cumming). Now he's starring in the first Broadway revival of Cole Porter's sparkling 1948 musical based on The Taming of the Shrew. He gets to reintroduce such Porter hits as So in Love, is teamed once again with his Ragtime co-star Marin Mazzie--and doesn't get killed in the end. Sounds...